University of Miami - Ibis Yearbook (Coral Gables, FL)

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Conductor Alloo koopi hi oyo on tho scoro. Laurence Tremblay, Charley Stallman, ami William Bennett. Only rival of Franklin Harris in the musical quality of his swearing i l)r. Carl Buggies, instructor in composition. 11 i “Men and Mountains and “Men and Angels are recognized as pioneers in the field of modern polyphony and have been played by the country's foremost symphony orchestras. Henry Gregor, composer of music both vocal and instrumental, spends his winters at the University teaching song literature. Edward Clarke, between music lectures for the layman, lectures on aesthetics to senior music students. Completing the faculty list is Frances Hovey Bergh. teacher of music education in all of its phases, choral leader, ami advisor to the music sorority. Sigma Alpha Iota. Former students who are now in the service as well as regular students took part in Sunday night informal get-togethers. At the same time. Miss Foster began a series of musical programs for men in the armed forces on the beach, offered at the Recreation pier. Dramatic Basso, E. Frank Edwinn was first of the student artists to appear on these pro- grams, then came Carmen Monserrat and Irving Laibson with special piano tricks. Betty Cole, Ruth Davis Lejon, Gladys Gaff and Douglas Brenner sang for several audiences. Jimmy Politis and Lewis Eley came down from Boca Raton, and in their uniforms starred in several of the informal concerts. Ruth Wolkowsky did her share with piano music. Dean Forthman Kirton. deep voiced and starry-eyed, offered her talents, and Ruth Schnapper appeared at the piano on several occasions. Many students took active part in outside concert work. Frank Edwinn and Don Littlefield. along with faculty members Reinert and di Filippi. sang leading roles in the Miami Opera Guild's presentation of “La Traviata. The chorus of that production held more than a dozen University Music school students. The service flag on the wall of the Workshop now shows 93 stars, hut with all those students off to war the Music school still carries on. Just walk down Ponce de Leon boulevard during practice hours this afternoon, ami see if you can tell the difference. —BARBARA NEBLETT, RUTH WOLKOWSKY Chorus rohoarsal lor prosontatlon of Di|ah.‘-

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Concert artists for the year were Mlscha CIman. Harold Bauor. Eugonia Honeywell. Sgt. Bella Urban, and Madame Kurenko. of relief when the season was over. But he liad done it before. Before coming to the University of Miami, he had conducted the Cincinnati Conservatory of Music orchestra and organized and directed the Cincinnati Municipal Band. During the first world war, he was in charge of music at Camp Devens, Mass. He came to the United States from Belgium to play first trombone with the Boston symphony orchestra. In Belgium he had served as professor of music at the Bruges conservatory, from which school he won his doctor's degree. All the worries of the music school, from what to do for classrooms to where Karl Kruse left his trombone, are taken to Miss Foster, superintendent of the entire Music personnel. In spite of yearly resolutions to cut down on her activities, she's still the busiest woman on the University campus. Aside from her endless duties in the school, she teaches organ. 14 leads a choir, and plans weekly entertainment for the armed forces. Under her supervision are classes in piano, voice, instruments for hand and orchestra, theory, and education. Head of the string department. Joel Belov, assistant conductor of the orchestra, is largely responsible for the bowing, phrasing, and interpretation of the stringed instruments. Author and composer of several hooks on violin instruction, Belov studied under Auer and Bloch, and for a while was instructor at Curtis institute of Music. Young Alan Collins teaches 'cello for the string department, and conducts freshman classes in musical theory. Head of the theory department ami director of the Twenty-Seventh Avenue Center division of the University is Tom B. Steunen-berg, at least six-feet-two of pure musician. A graduate of the Michigan school of music, he has taught all forms of theory orchestration, counterpoint, and harmony—for the past five years at the University. Mrs. Hannah Spiro Asher. Ralph Roth, and Joe Tarpley compose the piano department and combine the influence of their varied personalities on piano students. Mrs. Asher, artist pupil of Leopold Godowsky and instructor in Europe, offers individual instruction ami conducts forums in interpretation and accompanying. Mr. Roth has taught most of the beginning piano students enrolled in school, and Mr. Tarpley has continued to give lessons while holding a heavy war job. The vocal department is headed by Arturo di Filippi, director of the Miami Opera Guild, who offers his students operatic experience in the Guild's productions. Robert Reinert. youngest of the group, is director of choruses and aided in the installation of Miami's first successful choral society. It was out of this society that the production of “Elijah grew. Enthusiastic Sarah Folwell completes the department staff. Herself a soprano, she teaches voices of all ranges and types. Part-time instructors of the clarinet, flute, and drum include three University graduates.

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'MtaneAiay ‘SaucC HOI' II LEI) l IK HASS By dint of a few desperate expedients, including the impressment of high school musicians into serxice and the admission of women musicians to the ranks for the first time in history, the I niversity's Hurricane Marching Band managed to survive the foot-hall season, despite predictions of its early dissolution. About half the sixty-man marching unit were literally drafted from the nearest high school and high pressure drilling spruced the crew up to appear at the first game “ready for action. The “mixed company was perhaps the first thing the fans noticed, although it must he admitted that the widely-varied heights were also an eye-catcher. Perhaps the most popular stunt of the year was bringing hack the how and arrow maneuver from a drill of past years, although even that did not escape entirely from near-destruction. Only several minutes before the hand was scheduled to march on the gridiron, a young musician confessed that he had not brought his instrument. Questioned, he admitted, “I forgot it. ' He didn’t say he’d mis- laid it around the house, or that he’d thought he had it with him. No, he had just calmly walked out of the house without his tuba. Among other oddities, it may he noted that the hand, in an endeavor to remain a united group during the entire game, employed water-hoys to keep their parched throats in shape for the blasting between the halves. Although it enabled the musicians to remain in their seats, it kept the water hoys on the run. Remarked one of them, “Gee whiz, I never knew college hoys could drink so much.” Of the characters of the hand, it must he admitted that Johnny Brennan did an admirable job of drilling the aggregation, although getting its members out of bed before breakfast for three months proved no easy task. Muriel Smith, head majorette, was back again to lead Marion Meyers. Carol Jane Shaffer, and Kitty MacDonald, the chosen assistant twirlers. in exhibitions between the halves. Dr. Modeste Alloo. new conductor of the musical end of the program, brought many heretofore-unappreciated marches back to the public. Karl Kruse and Tom Lloyd had the thankless tasks of keeping all the music together. the filing, and the general duties of librarians, in addition to the unanimous hard grind of rehearsals for action on Saturday afternoons, murikl smith 16